Created by writer-producer-director Leslie Stevens and starring Jack Lord ("Hawaii 5-0"), Warren Oates ("Bring Me the Head of Alfredo Garcia"), Bruce Dern ("Silent Running") and Robert Dowdell ("Voyage to the Bottom of the Sea").

The scores by Dominic Frontiere are marvelous and deserve a release by La-La Land Records. Some of the scores are tracked on the season 1 of "The Outer Limits" and even on the season 4 of "The Fugitive" and on the season 1 of "The Rat Patrol". Frontiere not only composes but produces some episodes from the series.

Please watch these episodes and listen to the music: "The Contender" "Point of Honor" "The Wanderer" "Point of Entry" "To Catch The Kaiser" "The Weapons Man" "The Journey"

Here's the official trailer for Stoney Burke and you'be better believe it. Many of Stoney Burke episodes even include the half-break bumpers and at the end, the trailers for next week's episode. The print look good enough.

thanks for the head up! Not a rodeo fan, but this might be the only way to hear the music. I've forgotten what LLL said about the availability, but having worked with Dominic on previous releases, perhaps they would have released it already if they could?

thanks for the head up! Not a rodeo fan, but this might be the only way to hear the music. I've forgotten what LLL said about the availability, but having worked with Dominic on previous releases, perhaps they would have released it already if they could?

I am not sure if LLL has ever stated something about the availability. Anyway, since they release a Frontiere score every three years, we have to wait for 2014.

Back to "Stoney Burke", Frontiere and Outer Limits aficionados will enjoy the series because they will recognize bits and pieces used later on "The Outer Limits".

LLL says about a music release, "It’s certainly possible but nothing planned at this time."

Is it culled from an old interview?

I just emailed them. I asked them to reply via this thread (link included), but as they didnt, I posted their reply. I found it encouraging that they think it's doable, unlike the usual message board speculation that copyright issues must be the problem.

LLL says about a music release, "It’s certainly possible but nothing planned at this time."

Is it culled from an old interview?

I just emailed them. I asked them to reply via this thread (link included), but as they didnt, I posted their reply. I found it encouraging that they think it's doable, unlike the usual message board speculation that copyright issues must be the problem.

Thank you very much because this is good news. It means, at least, the recordings exist. For the anecdote, LLL included the reference to "Stoney Burke" in the scores list that you found in the inlay of each Frontiere release.

Composer Dominic Frontiere is also credited as production executive, musical director, associate producer which means he is in control of his work. Three craftmen assist Dominic Frontiere: music supervisor John Elizalde that is also credited as associate producer in selected episodes, music coordinator Roger Farris and audio supervisor Clem Portman from episode #2 to #15.

The scores to notice are: “Child of Luxury”, “Point of Honor”, “The Wanderer”, “Point of Entry”, “To Catch the Kaiser”, “The Weapons Man”, “The Journey”. Some of Dominic Frontiere’s cues are so good that they are recycled all along the 1960’s series as “stock music”: see the first season of “The Outer Limits” (episodes like “The Sixth Finger”, “O.B.I.T.”, “The Zanti Misfits” and “The Guests”), the first season of “The Rat Patrol”, the fourth season of “The Fugitive”. A recursive action cue used for Stoney Burke’s fistfight scenes will be recycled in “The Rat Patrol”.

Furthermore, the music supervisor also tracks a romantic cue from Dominic Frontiere’s “Hero’s Island” (1962) many times. For the aficionados of “The Outer Limits”, you’ll hear a proto-version of both “The Outer Limits Signature Loop” and “The Galaxy Being” in “Forget No More” and a proto-version of “The Hundred Days of the Dragon” (Cf. “Assassination” cue) in “The Weapons Man”.

In “Kelly’s Place”, actress Elizabeth Allen performs songs in a club called Kelly’s Place. “Kincaid” features a crime jazz score to encapsulate the urban feel of New York City. For the anecdote, when Stoney and his team go to a people bar at night we can hear a typical laid-back tune made out of accordion—Frontiere’s favorite instrument—and bass and drum.

For the record, “The Guests” features three romantic cues used in these Act 4 scenes: 1. the love intercourses between Tess and Wade in the cemetery (love cue)

… previously heard in the Act 1 scenes when Wade first meets Tess who is scared and runs away from the living-room and when Tess deals with her lost father to Wade and when Tess leaves Wade because of her father’s pocket watch. … previously heard in the Act 3 scenes when Wade and Tess talk in the living-room and when Wade violently questions Tess who runs in a hurry with sadness and takes refuge in the living-room.

2. the fast transformation of Tess from an old woman to dust (fast aging cue) 3. the father’s pocket watch of deceased Tess picked up by Wade (sorrow cue: slow violins and accordion)